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Showing results for tags '5d'.
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Hello! Here is a short film I shot and directed called "It's My Party" (if you couldn't tell from the big pink letters). I just posted it online Monday and I'm looking for feedback. After my last film which was 20 minutes long and about 10 different locations, I wanted to get back to something more simple that focused on character rather than plot. Anyway, if you have a few minutes check it out and let me know what you think. I hope you enjoy it! Mike
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A concept short I shot for my upcoming feature GAMMA The Years of Darkness with a 5D Mark III (pre raw), Leica 35 and 90mm Summicron-r, and a Sigma 20mm f/1.8 for the first shot. I've upscaled it to 4k for the best playback quality. November 23 2019: the cull order is initiated. Six billion lives sacrificed in a cataclysmic nuclear war. Hunted by merciless eradication squads, a lone rebel crew must atone for man’s sins, and face the enemy within. Please share on youtube.
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Hi EOSHD community, I've been a daily reader and pretty regular commenter here over the past year, and wanted to share some exciting news. My first feature film will premiere at the LA Film Festival in two weeks! It's been a labor of love and a lot of work to get it to this point, so I'd love for any of you in the area to come out to the screening and to meet IRL. Here's a link for tickets, and the trailer's below. Also of note to readers is the many formats we used to shoot the film. Partly out of necessity, and at times for aesthetic reasons we ended up shooting on at least 5 different cameras and formats: Canon C500 4k Raw, RED, C500 HD, full-frame Canon DSLR, Panasonic GH4, and even iPhone Let me know if you can make it!
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Hey guys. We did this revenge story with a bunch of different cameras but mostly it is 5d raw (80%). Most of the slowmos are RX10 ii and one with a7s ii 120fps. A lot of 5d raw 60p too. Hope you enjoy and warning, it is a bit brutal and there is blood flying around.
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Hello there ! We had the opportunity and luck to be part of the "Dominica Film Challenge" this year, here is the result of our week in this tiny and lovely island from the Carribeans ! Hope you'll like it. We mainly shot with a Red epic, but there is also some 5d III raw footage as we had troubles with our luggage (4 days to arrive..). There are also a few drone shots made with a phantom 2 and a gopro 4.
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Hello everyone ! This is my new movie. It's entitled « eet Gourmandise ». This is a film about the preparation of cake, a "entremets", specially created for the film. You can see it there : It was shot with : Canon 5D MarkII with Canon 24-70mm f/2.8 L + 70-200mm f/2.8 L + 100mm Macro. It was editing with Avid and color graded with DaVinci Resolve. I wanted to show you and to have your feedbacks. So if you like it, do not hesitate to share the link of the video on social networks, with your community (Facebook, Twitter ...) Thank you. Have a nice day. ...and "Bon Appétit" !! Florent. -
Hey guys, Just wanted to share with you a trailer for the short documentary I've been working on, about the amazing journey that our everyday object travel on in order to get to us. All the footage was shot in China this winter on my 5d mark III with Magic Lantern. I'd love to hear what you think, and if you are interested in supporting this project through it's next phase, (landscapes!) then please also check out the kickstarter below, I hope you enjoy the teaser! https://www.kickstarter.com/projects/1487414135/made-in-china
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I think you might be interested to discover those 2 videos One is the trailer, one is the complete making of IF you like car chase, stunt and exciting stuff, you should have a look It is a remake of Fast and Furious made in China by the usual stunt team of Fast and furious 4 month shooting near Shanghai and I directed, edited and partly shot this Making of. Enjoy; Streets of Fury Trailer http://vimeo.com/98703764 Streets of Fury Making Of http://vimeo.com/97801113
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Hi, I am in photo and video since a few years and I had a lot of cameras : fuji XE1, XPRO1, canon 5D2, ... Since a few months I have nothing, and I watch the market which is changing a lot and want to invest in a system for a long time (lenses, accessories, ...) because I am tired to change everything each time. I am gonna give you what I shoot, and then my pros/cons for each and then you can tell me your point of view ? So I shoot 50% stills (Mostly landscapes and portraits). Exemples of shots : http://500px.com/loup_f What I basically need as lense is a or 16-35 (full frame) for landscapes and a 85mm for portrait for exemple. And 50% videos. My videos are only travel videos. When I go somewhere, I shoot and make a video of the trip. For exemple, my last trip in California : As you can see, I do a lot of timelapses (with the same lens as the landscape stills one) and basic shoot of people and streets (for exemple the 16-35 at 35mm would be fine, or with a 50mm). I also do paragliging and sports, so here it's a bit special. I use the gopro but wouldn't mind using the body in the air (lens with IS necessary here). Also, I like to spend time on edit. So I like the RAW possibilites. Now about the cameras: I just purchased a 5D mark III used. I made a good deal (200eur under normal used price) and I have it with the 24-70 that I don't like (not wide enough, not long enough, not fast enough (2.8) so I prefer primes^^). If I invest for the 5DIII I am going to buy : a sturdy carbon tripod, a glidecam, the new 16-35mm f4 IS just released (for landscapes and video), and a cheap 85mm 1.8 for portraits, ND filters, canon flash and so on. So as you see I don't want to buy all of this and then have to sell everything in 6 months because A7S is much better ... My dilema is : Should I keep 5DIII invest in what I said or just use it with the 24-70 2 months and then sell it and go for A7S ? My pros and cons : 5DIII pros: -RAW for video : big pro for me -Cheap lenses used (yes not the new 16-35 which will be 1199 like the sony one) but for exemple 270 for the 85mm. -pro body, resistant, nice to handle -price and value: got it for 1800 used / A7S is gonna be 2500 because no available used. Not a new body so value is going down slowly now. 5DIII cons: Big and heavy for travel No cool slowmotion (FHD 60fps and 120 fps like A7S, I use a lot slowmo) Dynamic range A7S pros: size - wheight : big pro for me slow motion : big pro for me DR for landscapes : way better than 5D here A7S cons: New body so pay full price and value is going down quickly No Raw video Lenses price : they are new only, the 85mm will be like 1500usd ... So a bit shitty. Conclusion For photo they are both fine (slight edge for A7S with DR for landscapes and timelapses) For video 5DIII has raw advantage and A7S has slowmo ( I don't use external 4K) A7S has size advantage and 5DIII has price advantage (due to the fact I got it used, and lens used as well) For future, for the moment I trust more in investing canon system (for exemple when 5D4 is out I get it and keep the rest) as Sony is changing system all the time like crazy. But I might be wrong. Sometimes I tell myself I should just get the sony RX100 III (slow mo, 24-70 5 axis IS, ...) such a convenient camera. But I am affraid it is only a "compromise" and will be frustrated by results (lack of bokeh, dynamic range for timelapses, no ultra wide angle...) So according to my conclusion and use what do you think ? Thanks for reading
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Hello everybody! New to the forums. I am about to buy the GH4 but I have a question that was probably posed already (I just couldn<t find the answer). I own a 5D MK II and these are the lenses I have: Sigma 70-200 1.8 - Canon 17-40mm - Rokinon 85 mm - Tamron 28-75mm. I would like to know if it is possible to use them with a speedbooster (on the GH4) AND keep the autofocus option that comes with the GH4. If it is possible at all, which speedbooster? Thanks in advance for your help!
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I made my first anamorphic purchase with a Kowa 16-H. I am waiting for Redstan adapters and I wanted to get some feedback on which taking lens would be ideal with my setup. I've heard that anything below 80mm will vignetter due to the Kowa's 2x and the mk III sensor size. For any mk ii / mk iii owners out there... what taking lenses are you using/recommend for your Kowa 2x?
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Finally finished my short film project "Separate Flow". Waiting for the right anamorphic and I think the SLR Magic Anamorphot was it. Very practical to use on location, it worked really well for this project. Debated long and hard on using either the GH3 or 5DmkIII RAW. In the end I went with shooting RAW even though I had a lot of problems, including the camera shutting down at one point. But it's the flexibility of RAW in post that won out in the end. In the future I will use AF with the GH3/4 since it's more usable, especially when using a steadicam.
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Hi everyone, I just wanted to share with you a quick ISO test I did yesterday with a 5d2, a gx7 and the kind owner of the gx7 :). Knowing the gh4 sensor will be similar to the gx7 one I think what follows is promising Before you ask I don't know why there is so much difference in the exposure: maybe different lens transmission or different factory sensitivity calibration. Viewing this test in the monitor surprised me so much I wanted to reshot everything, convinced that I had done something wrong. Please download the original file, I leave you to the judgement https://vimeo.com/90203597
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I've been experimenting with Resolve and ACR, trying to find the best workflow for RAW. By best, the highest quality possible in the shortest amount of time. ACR+AE runs a few frames/sec on my 4-core MBP and about 6-fps on my 12-core Mac Pro (both cases running with AE multiframe processing on). Resolve runs near real-time on the laptop, and slightly faster on the Mac Pro (Quadro 5000 is getting long in the tooth- a newer consumer card with hacked mac ROM would be faster). While I have been able to get Resolve looking closer to ACR, I have not been able to match it. http://www.dvxuser.com/V6/showthread.php?320727-Results-of-testing-various-5D3-RAW-workflows The first goal was to get Resolve to show an accurate image of what was shot. All the experiments with BMD Film color space and LUTs weren't able to do this (including the EOSHD and Hunters "Alexa" LUTs). I also experimented with creating 3D LUTs from scratch. The 5D3 RAW footage is pretty much linear RGB. It appears it can be transformed to BT.709/Rec709 with a simple matrix (linear transform). Using the Rec 709 color space and gamma in Resolve, I can get much closer to the correct colors for the scene shot. Unless we are going from 14-bit to 10-bit (for example), it doesn't make sense to convert to a log color space since we've already got everything captured in linear. From there we can grade for style then save out the final render with a Rec 709 compliant color space (it's not clear what Resolve does with out of gamut colors- clip, etc.). Log makes sense in a camera capturing and preserving dynamic range to a file format which can't otherwise store the full range sufficiently. Log can also make sense if one wishes to use a 3D LUT that needs log as input. However, there a many different log formats, ARRI, Canon, Sony, etc. all make different versions. At the end of the day, we need to get back to something like Rec 709 for broadcast (of course internet test videos are excluded). After comparing ACR, Resolve 10, and AMaZE (used by mlrawviewer: http://www.magiclantern.fm/forum/index.php?topic=9560.0, which plays MLV's in real-time and can output ProRes HQ (a little faster than ACR, but still slow (AMaZE only used for export)) debayering, they are all very close. ACR is doing something with color and microcontrast that puts it above everything else right now. It looks very accurate and also 'pops' in a way that I haven't been able to get from Resolve (granted, I'm just now really learning it). I'm planning for a ~90-minute final product which means lots of footage. Even shooting Robert Rodriguez style (limited takes- edit as much as possible in-camera), there will be terabytes of footage. For now I'm thinking to use Resolve to make ProRes/DNxHD proxies quickly then go back and only process necessary clips with ACR+AE for the final cut (until or unless I can figure out how to make Resolve look as good as ACR). Or batch convert ACR+AE overnight and replace proxies as I go (deleting the massive RAW files). 5D3 RAW is amazing, but requires a lot of planning, work, and most significantly, drive space.
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Mostly shot on a 5D Mark III with the Magic Lantern Raw Hack with some H264 footage mixed in. I believe I was shooting at ISO 20000. Lenses used were the Super Takumar 50mm f1.4 and the Canon 24-70m f/2.8. The raw files were graded in Resolve with bmd film applied and exported as 444 prores. I was very impressed at how well the raw footage looked in the low light. With the h264 video I have to turn on a z96 LED to not get noisy footage....but its sooo soft. It's incredible how well raw does in low light.
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Hello, Everyone. I am debating whether to jump into the Canon 5D Mark III Raw video capture world, but as I have been researching the topic and equipment further I am now considering using Cineform as an editing codec in Final Cut 7. Up until now I have only work with ProRes, but I have read excellent things about Cineform, so I wanted to ask others what they feel about it as an editing codec. Does cineform work well in Final Cut 7? Does cineform require more computer performance in order to edit with? More RAM? RAID? Or would a RAID setup be overkill? Is there a version of cineform you really prefer to edit in? Raw? 4444? 422? Is there much visible difference between the various quality levels? Does cineform grading integrate well from cineform studio into Final Cut? These are some basic questions I have after having read about cineform a bit, so I would love to get some real world feedback on it from others. Please don't hesitate to add any additional observations you might have from your experience. Every bit of information is useful to me. Thanks so much. I look forward to your responses.
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A short promo about studying in Rome. Shot in May 2013 on the Canon 5d mark 3 RAW when RAW had just been released. 

Lenses primarily used: Canon 35mm IS and Canon 70-200 f2.8 mk2. I only had 2 Lexar 1000x, now I use these and 4x Komputerbay cards. Edited on Premiere, ran through Adobe Camera Raw in After Effects first to get better debayer and graded on Davinci Resolve. I hope you like it, let me know your thoughts! >
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Hi, Over the weekend I shot a short film using the Magic Lantern raw hack on a 5D mk III. Everything went perfectly and now I want to make proxies for the director to start his edit. The problem I'm running into this time is spanned 4gb+ files. I used automator to rename all of the files in each card with a naming scheme of r001c0001 and so on. R for roll and C for clip. When I dump all of these files into RawMagic it only see the takes that are in smaller than 4gb or unspanned. I assume by messing with the file naming I've broken the link between the spanned files. Can anyone think of a solution for this problem?
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Hello everyone, Long time lurker, first post. A couple months ago a short film I made was chosen for the San Diego undersea film festival. I thought I would share it. If you have any comments, or recommendations, I would love to hear them. Let me know what you think. Hope you enjoy. Dustin www.oceanshutter.com
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I am trying to get in the habit of exposing to the right with my 5D Mark III raw footage. But how far to the right? Below is a contact sheet made up of screen grabs I've taken in Resolve from untouched DNGs. I set the exposure for the first image using the false color function on my SmallHD monitor (which works great for exposing H264/AVCHD footage, but here it actually looks quite underexposed) and then I upped the exposure in one stop increments. I am hoping that someone more experienced with raw footage than I can give me an idea of which of these would contain the most recoverable data (click to enlarge image):
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Hey, My first real video production in RAW. It took place in Berlin. It is for the indie clothing label called ZIRKUS-ZIRKUS Date: September '13 Video: Calvin Müller Visa: Sarah Bleszynski Models: Valentina Belleza, Nadja Allegra, Haile Iskel, Alex Temme Location: Berlin-Kreuzberg, GERMANY Music: Cage - Nothing Left To Say (2009) Shop: zirkus-zirkus.com http://vimeo.com/76925336
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Hi there, I'm pretty close to getting an Aquatech housing for my 5D Mark 3, and was just wondering if anyone has had any experience with shooting raw in the sea/surf? I'm kind of resigned to the fact that it might not be too practical to be shooting raw over h264 with a housing, since you have limited controls - I think the trashcan button is not catered for - but presumably you can re-assign the magic lantern button? Also just the amount of footage you can fit on a 64gb komputerbay card, and possible card problems might not be great since you don't really have the luxury of swapping out cards in the sea. anyone had any experience with this? cheers
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I have not seen this comparison yet so I decided to test it out. I tried to match the shots and then colors as closely as possible, setting the look with the raw footage (starting from BMD Color Space) and then trying to conform the AVCHD to it. The severity of the grade was moderate: 5D Mark III (Raw DNG) FS100 (w/ Frank Glencairn's G-Log Ultimate) And here is where the codecs really show their differences: 5D Mark III Sony FS100
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I've just shot a short film using the ML raw hack for the 5DmkIII. We are using a PC workflow so we transcoded the raw files into Cineform raw using GoPro Studio Premium, RAW2GPCFv113, and RAWinizer. Cineform seems like a much easier workflow than cinemaDNG, so that is what we went with. However, the resulting Cineform .mov files that come out are pretty noisy. I shot almost the entire film at 100 ISO with Canon CN-E lenses so I'm pretty sure the noise is a result of the transcoding process. Has anyone else worked with Cineform raw? Is the noise typical or am I doing something wrong? We purchased Andrew's 5D raw guide and I didn't see any mention of this, as either a problem to avoid or something typical to expect. I assume Neat Video Pro would be capable of noise reduction while maintaining the high bitrate of Cineform raw, but is this really necessary? As it is some shots almost look unusable "out of the box" so to speak without some noise reduction. I am posting this from work so the only clip I can show, at the moment, is this one I previously uploaded for the director to see. This one isn't particularly noisy but it is more noticeable in other clips. https://vimeo.com/76398367
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Hello, Everyone. I am debating whether to jump into the Canon 5D Mark III Raw video capture world, but as I have been researching the topic and equipment further I am now wondering what kind of real world computer performance in necessary in order to edit Raw video? I have a Mac Pro (2009) with 16gb RAM and four internal HDs (500GB for OS and three 2TB for storage). Until now I've only edited ProRes in Final Cut 7 on my machine, and I've never had a performance problem. Moving into Raw shooting, however, I wondering if this will change my computer performance needs dramatically. I'm planning on editing either in ProRes or Cineform in Final Cut 7, but I wasn't sure if the higher quality files and larger sizes of shooting Raw would force me to change my setup dramatically? I will most likely need an external backup system to handle the larger storage needs, but I was wondering if investing in a RAID system is necessary? I was also wondering is there were any dramatic performance need difference between editing with ProRes vs. Cineform? Does one require more power to run smoothly? I was also wondering where my money would be better invested in updates? If I want better performance would it be smarter to add more RAM? Or would I be better served by buying a RAID system? Any input on how others shooting with Raw feel is greatly appreciated. Please don't hesitate to add comments and insights beyond the scope of my initial questions here. Thanks so much. I look forward to your responses.
